A new paradigm for being a conscious being here and now on beautiful Planet Earth. A cross between "synthesis", "renaissance", "cryogenics" and "benthic"..."a flowering of creativity that's extremely cool and very deep." And the name of a yahoo e-group I started in 2002, now with around 1800 members, mostly friends of mine. Cheers Jeff

DREAM-TIME DNA: A NON-LOCAL CONNECTIONJeff Phillips(originally written in 2001)In 1990 I began to feel a very strong connection with what I called "aboriginal consciousness. It was at this time that some of my art began to have that sort of feel to it. Only when I traveled to central Australia earlier this year, however, did I realize the depth of the connection.For years I felt there was a connection between "aboriginal consciousness” and "dolphin consciousness”. Ever since the late 70,s I had been keen on understanding the whales and dolphins, large-brained mammals like ourselves, who have lived harmoniously on the Earth for tens of millions of years. Dr. John C. Lilly had speculated that the whales and dolphins were "repeater stations for signals from other water-based life-forms elsewhere in the galaxy (signals that are far weaker than those of the electronic SSE, or "solid-state entity which is vying for control of the Earth) [see Lilly’s The Scientist: A Novel Autobiography]I knew that dolphins figured heavily into the dream-time cosmologies of almost every coastal aboriginal tribe in Australia; I guessed that the aborigines and the dolphins were conveying similar information about nature herself and how she works.People had told me for years that a lot of my paintings contained images that reminded them of cellular structures, mitochondria, chromosomes, ribosomes, membranes, nuclei; this made sense in light of my background in biology.Now it gets even freakier. My friend Moira Timms (Egyptologist, archaekonicist [someone who studies ancient symbols], author of Beyond Prophecies and Predictions] had sent me a copy of a book called The Cosmic Serpent: DNA and the Origins of Knowledge, which she said she thought was one of the most important books of the (20th) century! In it, Jeremy Narby relates his hypothesis that shamans, medicine men and indigenous minds in general are in direct communication with the global network of DNA-based life, that this intelligence directly imparts knowledge that mainstream science cannot explain.When I was in central Australia near Alice Springs I connected with some extremely wonderful aboriginal women artists who form the Keringke group. It was like we are doing the same thing only in different parts of the world. They are going beyond traditional aboriginal art, using a full spectrum of colors and creating their own stories, just like I do. I look forward to spending more time with my Australian art sisters!But when I returned to New Zealand and was examining in depth the Keringke art book, I was totally blown away when I saw Serena Haye’s painting. It was extremely similar to one I had done around the same time in America. Both of us were working directly from within, and neither of us had seen the other’s art.Further, Huddersfield University geneticist Martin Richards has shown that the origin of ALL humans can be traced back to a single family tree, even an original "Eve 7000 generations ago. These studies are based on mitochondrial DNA, of which the aborigines of Australia have the oldest of any human beings.In quantum physics a "non-local connection is a sort of bridge or continuum which simultaneously links people, places or events from different spatio-temporal coordinates; Jung called this synchronicity.My mind boggles at the meanings of all these connections. We truly ARE all a part of the same web of life, even beyond the Earth…an inter-galactic Gaia? It’s as if life herself is non-local, synchronistic, and highly intelligent, and she’s helping us to paint pictures of her!!! I am honoured to be a participant in this process!!!The top picture, "Elohim Photon Dreaming", was done by me in the mountains of east Tennessee in the summer of 1999

The bottom painting, untitled, by Serena Hayes of the Keringke group in Northern Territories, Australia, was done in 1998.